More likely, the “era in time” captured by “Hide and Seek” is not one affixed to any calendar, but to that time of adolescent uprooting - call it teen angst, if you must - that every human being experiences, a time that transcends the year, the societal norms of the decade, even economic, religious and racial boundaries. However, that doesn’t explain why the song has resonated with viewers of Normal People, a show that admittedly begins only a few years after 2005, but is lightyears ahead of the aughts in its weaving of fraught issues of sex and class into a zeitgeist-capturing phenomenon. I knew that if we placed a version of it at the right moment in the story it could be very powerful - and that turned out to be an understatement.” But, as Heap told Vulture, it was the show’s movement director, Steven Hoggett, who first introduced her music into the show during very early rehearsals, and there it stayed. In liner notes for the Cursed Child album, the play’s director John Tiffany wrote, “‘Hide and Seek’ … has always struck me as having a religious quality. Rowling’s original books, for which Imogen Heap eventually came on as composer - it all went back to that one song. Oddly, that gut feeling surrounding Heap’s music isn’t unique it’s a moment of creative déjà vu that echoes throughout the song’s life.īuckley noted that “Josh responded to ‘Hide and Seek’ as soon as he heard it and felt that he wanted to find a place to use it during the second season.” Even in Harry Potter and the Cursed Child - the two-part play that takes place after J.K. In short, Abramson knew he wanted “Hide and Seek” for this moment, and he wasn’t going to hear otherwise. Despite saying in an interview she listened to “500 songs” to replace it, Phillips gave in because it “did what Lenny wanted it to do.” “People” in this context most importantly refers to one man, Lenny Abrahamson, who directed the first six episodes of the series. “I fought hard to replace, but it had been in the cut even before I was brought in, and people had grown very attached,” Phillips explained. creator Josh Schwartz that he listen to the album, as I wanted to use a song called ‘Goodnight and Go’ in Episode Five of the second season (which we did). “I loved the entire album and thought her voice was unique. “When I was editing The O.C., I was given Imogen Heap’s album Speak for Yourself by music supervisor Alex Patsavas at the beginning of Season Two - it may have even been before the album’s release,” Buckley told InsideHook via email. To connect the dots across time, we got in touch with Maggie Phillips, music supervisor on Normal People, as well as Norman Buckley, who worked as a director and editor on The O.C., a job that included editing the Season Two finale, “The Dearly Beloved.” But it’s the song’s placement in Normal People, a new 12-part TV adaptation of the Sally Rooney novel, that has ripped open old wounds, sparked debates about musical baggage and posed the question: Can “Hide and Seek” escape its iconic origins to become something more? Since that night 15 years ago - the episode premiered on Heap’s self-harmonized, vocoder-infused masterwork has been given the meme treatment by Saturday Night Live, the Billboard Hot 100 treatment by Jason Derulo and even the Broadway treatment in Harry Potter and the Cursed Child. The first was the beginning of the Revolutionary War, the second was the one that felled the Archduke Franz Ferdinand in the preface to WWI, and the third arrived in the Season Two finale of The O.C., when Marissa shot Ryan’s brother Trey to the tune of Imogen Heap’s “Hide and Seek.” There are three events that can credibly be called “the shot heard round the world.”
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